A Quote by Maggie Cheung
I think I started to have thoughts to really want to be serious about my work when I was about twenty-five, and I just kind of started to look into that direction and moved into it.
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Once I got to be about twenty-five, I got interested in the music of the time. I started smokin' dope, I started drinking, I started slowing down and trying to find myself. I didn't want to work in nightclubs.
I just started playing music on the street and walking around with a fiddle, and I think that's kind of when I started being serious - or as serious as it's going to get.
I grew up kind of in the country, in western Georgia. And then I moved a lot closer to Atlanta, and I started doing plays, and when I started doing film, I think I really started to love it.
I think when I moved to the United States and saw how serious basketball was and how good I was compared to everyone else. You just came from Canada and you're top five in the country; you're young and everyone says you can be a pro. That's when I started thinking: if I work hard, the dream can come true.
I started doing drag in Seattle because I started doing my column before I moved here, and then moved here and wanted to be able to go out and do things as Dan Savage without being recognized the next day, because the column was just in Seattle and it was kind of a sensation and I was beating people up. I was really worried and I didn't want to beat somebody up in a column and have that person know what I look like when I didn't know what they looked like.
I think the good thing about 'Take Me Out', which is kind of a compliment to us really, is that when it started doing well round about the second series and people started getting into it, all of a sudden every time you turned over a channel there's a new dating show on.
This man, who for twenty-five years has been reading and writing about art, and in all that time has never understood anything about art, has for twenty-five years been hashing over other people's ideas about realism, naturalism and all that nonsense; for twenty-five years he has been reading and writing about what intelligent people already know and about what stupid people don't want to know--which means that for twenty-five years he's been taking nothing and making nothing out of it. And with it all, what conceit! What pretension!
'The Immigrant Story,' which took me about twenty-five years to write, was a very simple story, but I couldn't think of how to tell it. Then twenty years after I started it, I found this one page and realized it was going to be the story. That's the only way you get it sometimes.
I started writing when I was around 6. I say 'writing,' but it was really just making up stuff! I started writing and doing my own thing. I didn't really know what a demo was or anything like that, so I started getting interested in studio gear and started learning about one instrument at a time. My first instrument was an accordion.
I started out not doing jokes about my disability. I just talked about my life. But I've found that if I don't broach the subject, people are kind of like, 'C'mon, talk about it.' They want to hear about it.
When I was four, I think I just wanted to make noise. When I was about 10 years old I was given five CDs for my birthday: Pink Floyd's 'Dark side of the Moon,' the Sex Pistols, Prodigy, Jimi Hendrix, and I can't remember the fifth one, but really different kinds of music. That's when I started to grasp it and enjoy it, listening to it. Then I started being in bands at school.
A lot of people seem to think that art or photography is about the way things look, or the surface of things. That's not what it's about for me. It's really about relationships and feelings...it's really hard for me to do commercial work because people kind of want me to do a Nan Goldin. They don't understand that it's not about a style or a look or a setup. It's about emotional obsession and empathy.
I started in theatre, moved into film and television, and started doing voice work, which is funny because after a long time in film and television, you forget how much you rely on just a simple look on your face.
When I joined the Lakers and moved to L.A., I started getting more serious about collecting sneakers and dressing from the feet up.
I started to understand that for me, art was no longer about self-expression but about creative engagement with the world. I started to respond in an excited way to making work inside an industry and not feeling the constraints of audience expectation as some kind of thing that I should avoid.
When I turned 25, something changed in me. I see children in my future 100%. Soon. I started thinking I want my kids to look back and say, 'Wasn't Mummy amazing?' I've really started thinking about what I'm leaving for them.
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